The Ambulatory

“To the Glory of God ‖ and in loving memory of ‖ Anna Livingston Morton ‖ May 18, 1846-August 14, 1918 ‖ Given by her daughter ‖ Edith Morton Eustis 1920.”

The Parapetat the entrance to the Choir is designed to represent outstanding characters of 20 centuries of the Christian Era. It is in two sections, one on each side of the steps leading from the Crossing to the Choir, each section being 18½ feet long and 4 feet high. It is built mainly of Champville (France) marble, in modified French Gothic style. The twelve marble columns, alternately green, red and yellow, are of Alps Green from Italy, Rouge de Rance from Italy, and Numidian from Africa, respectively. The figures, from right to left, are as follows (authorities differingslightly as to some of the dates given): (1) St. Paul (died A. D. 66) with sword symbolizing his decapitation; (2) St. Justin Martyr (100-165) with axe and block; (3) St. Clement of Alexandria (150-220) holding cross in left hand; (4) St. Athanasius (296-373) pouring baptismal water from a sea-shell, referring to a playful incident of his boyhood which led to his calling; (5) St. Augustine of Hippo (354-430) with miter, pen and tablet; (6) St. Benedict (480-543) in habit of Benedictine monk pointing to scroll; (7) St. Gregory the Great (550-604) with slave child in broken shackles, referring to his intercession for pagan children in the slave market; (8) Charles Martel (688-741) with crown, battle-axe and pennant; (9) Charlemagne (742-814) with crown, scepter and orb; (10) Alfred the Great (849-901) crowned, with sword by side, holding three burnt cakes on book;[23](11) Godfrey of Bouillon (1061-1100) crowned, with Crusader’s sword and shield; (12) St. Bernard (1091-1153) in monk’s habit, holding aloft a cross in his right hand and clasping a book in his left; (13) St. Francis of Assisi (1182-1226) in Franciscan monk’s garb, contemplating a cross in left hand, and preaching to birds[24]in tree; (14) John Wyckliffe (1325-1384) with book and staff; (15) Columbus (1435-1506) lifting the veil from the globe, symbolizing the age of discovery; (16) Archbishop Cranmer (1489-1556) with right hand thrust voluntarily into the flame, symbolizinghis martyrdom; (17) Shakespeare (1564-1616) standing amidst growing laurels; (18) Washington (1732-1799) in civilian attire as President; (19) Lincoln (1809-1865) standing by a burial cross delivering his Gettysburg Address; (20) uncarved block. The basis for selecting the figures was the representative character of the nineteen men selected in conjunction with their contribution to the development of Christian civilization. The Parapet was designed by Messrs. Cram & Ferguson, and the figures, modelled by Ferrari, were carved by John Evans & Co., of Boston. The Parapet bears the following inscription:

“To the Glory of God and in Memory of ‖ Richard Delafield, ‖ Brigadier-General, Chief of Engineers, ‖ Brevet Major-General, United States Army. ‖ Born September 1, 1798, Died November 5, 1873, ‖ This Parapet is Erected by his Children, ‖ Albert, Juliet Covington and Emma Delafield. ‖ Righteousness Exalteth a Nation: But ‖ Sin is a Reproach to any People.”

The Pavementsof the Ambulatory and Choir, designed by Mr. C. Grant LaFarge in Romanesque and Byzantine motives, are related in their symbolism. The colors in the Ambulatory are reddish, or earthy; while those in the three ascents of the Choir progress through increasingly rich designs of greens and whites (hope and purity) to greens, whites and blues (hope, purity and heaven) until they reach the pure white steps of the Altar. The risers of the steps leading from the Crossing to the Choir proper are of yellow Numidian marble and the treads of green Pennsylvania marble. The pavement of the Choir is richly inlaid with Numidian, Swiss and other marbles and Grueby Faience tiles. The steps to the Presbytery are of marble from Hauteville, France. In the center of the floor of the Presbytery is a magnificent mosaic rug of tiles and marbles, 32½ feet long and 10 feet wide, with smaller patterns at the ends. In the centeris an oval of black Belgian marble surrounded by violet marble from Italy, while Grueby tiles of many colors, and Grecian, red Numidian and other marbles form the rest of the design. The pavement of the Sanctuary, within the communion rail, in addition to its rich designs of tiles and marbles, contains, immediately in front of the steps to the Altar, a red tile surrounded by a square brass border, inscribed:

“Whoever shall have prayed at this spot will have pressed with his feet a tile from the ancient Church of St. John the Divine at Ephesus, built by the Emperor Justinian in the year DXL over the traditional site of St. John’s grave.”

The tile was presented to the Cathedral by Bishop Kinsman of Delaware, its authenticity being attested by Prof. George Weber of Smyrna, who procured it from the ruins on the hill of Ayassolouk and who, in his lifetime, was a leading authority on Ephesian archaeology.

The Eagle Lecternof bronze at the north side of the Choir steps is a replica of an ancient lectern found near St. Albans Cathedral, England, in a lake into which it had been cast when that structure was destroyed in the Saxon invasion. The eagle, standing on a globe, is the symbol of St. John in his capacity as an Evangelist. Around the lectern are the figures of the four Evangelists: St. Matthew with open book, St. Mark with closed book and pen, St. Luke with open book in one hand and pen in other, and St. John with chalice. Below are their respective symbols (p. 44). The lectern was made by the Gorham Co. It bears the following inscription, the initials at the end being those of the donor, Mary Gertrude Edson Aldrich:

“In Memoriam ‖ Horatio Potter ‖ Bishop of New York ‖ 1854-1887 ‖ M. G. E. A.”

THE BISHOP’S THRONE, CHOIR STALLS AND DEAN’S STALL

The Choir Stalls, rising in four tiers on either side of the Choir proper, are of carved American oak. The canopies are after studies of those in the Chapel of Henry VII in Westminster Abbey used as the Chapel of the Knights of the Order of the Bath. The finials of the stalls are figures of great musicians and composers of church music, as follows:

The figures, modeled by Mr. Otto Jahnsen, are represented in the costumes of their day; and the features of all but those of David and his chief musician Asaph are from portraits.

The high canopied stall nearest the Crossing on the south side of the Choir is theDean’s Stall.[25]It was designed in the office of Messrs. Cram & Ferguson and is a very skillful blending of styles to harmonize with the Jacobean canopies of the Choir Stalls and the Flamboyant note in the stalls themselves. It has many interesting details of carving, notably the three panels depicting the Good Shepherd (front), Learning (east side), and Charity (west side). On the back of the stall is inscribed:

“In the Name of the ‖ Father Son & Holy Ghost ‖ This Stall is Dedicated by ‖ The Head Mistresses Association ‖ to the Memory of ‖ Agnes Irwin ‖ 1841-1914 ‖ Holding fastthe faithful word as she ‖ had been taught herself being not dis- ‖ obedient unto the heavenly vision ‖ Head Mistress of the Agnes Irwin School 1867-1894 ‖ First Dean of Radcliffe College 1894-1909 ‖ First President of the ‖ Head Mistresses Association ‖ 1911-1914.”

In the Presbytery, on the south side, is the loftyBishop’s Throneof carved oak, while opposite to it is one with a little lower canopy for the use of a bishop other than the Diocesan.

On one of the Choir Stalls is inscribed:

“These Stalls are Erected to ‖ the Glory of God ‖ and in Loving Memory of ‖ Susan Watts Street ‖ 1818-1893 ‖ By her Daughter ‖ Anna L. Morton.”

On a tablet in the Choir is inscribed:

“The Stalls ‖ of the Sanctuary ‖ and the Choir ‖ are Erected to ‖ the Glory of God ‖ and in Memory of ‖ Susan Watts Street ‖ 1818-1893 ‖ By her Daughter ‖ Anna Livingston ‖ Morton.”

The stalls and the cathedra of the Diocesan were made by the John Barber Co., of Philadelphia, and the corresponding Bishop’s throne on the north side by Messrs. Irving & Casson, of Boston.

The Organ, seen in the upper arches on either side of the Choir, contains 7,000 pipes and a chime, connected by electric wires with the console located in the gallery on the south choir screen. The console has four manuals and two octaves of pedals, 106 speaking stops, 31 couplers, and 33 pistons. The organist, invisible to the congregation, can see the choir and clergy either directly or by means of mirrors. A Gothic tablet in the south Ambulatory is inscribed:

“This Organ ‖ is Dedicated ‖ to the Praise of ‖ the Blessed Trinity ‖ and ‖ in Loving Memory of ‖ Lena Kearny Morton ‖ 1875-1904 ‖ By her Parents ‖ Levi Parsons Morton ‖ and ‖ Anna Livingston Morton.”

The organ was built by the Ernest M. Skinner Co., of Boston. (See also Choir School,page 106).

The Cathedral Flagwhich hangs above the choir stalls on the north side of the Choir opposite the American flag, bears upon a purple field a white Latin cross, on the crossing of which is a shield displaying the arms of the Cathedral. The shield is divided by radial lines into three parts: In the upper left-hand part (as viewed) are the arms of the city of New York, in the upper right-hand part the arms of the state; and at the bottom the seven candlesticks and seven stars of the Book of Revelation (ii. 1) symbolizing the seven churches and seven spirits of the churches founded by St. John the Divine in Asia Minor. The Cathedral flag and the American flag were given by Mrs. J. Herman Aldrich. The American flag which is sometimes carried in the procession and which was first used in the victory celebration in 1918, was given by Mrs. William Iselin. (See page 6).

The High Altaris of white Vermont marble. The beautiful GothicReredosis of pierre de Lens, quarried in the vicinity of the city of that name in the north of France which was so terribly ravaged in the late war. In the center is a majestic figure of Christ. On His left, (in order from center to spectator’s right) are Isaiah, Jeremiah, Ezekiel and Moses, representing the Old Testament; and on His right (in order from center to spectator’s left) are St. John, St. James, St. Peter and John the Baptist, representing the New Testament. The scale of the Cathedral may be judged from the size of the figure of our Saviour, which is seven feet high. Those of Moses and John the Baptist are 6 feet 10 inches high. In smaller niches on the front and sides are 16 angels holding various emblems—palm, sword, shield, swinging lamp, crown, trumpet, etc. Under the pedestals of the statues are clusters of grapes, symbolizing Him who gave His body and blood for man. The statue of Christ was made by Sig. Leo Lentelli under the direction of Mr. Carl Bitter. The other figures were made by Mr. Otto Jahnsen. The great rectangular panel in the lower part of the Reredos is filled with a rare Spanish embroidery in arabesque design, 200 years old. The Altar and Reredos were built by the Barr, Thaw & Fraser Co. Upon the Altar is the following inscription:

“To the Glory of God ‖ and in Memory of ‖ Anna Livingston ‖ Morton ‖ 1846-1918.”

THE HIGH ALTAR

The Credence Table, at the right (south) side of the High Altar, is supported by a shaft composed of three stones from the ruins of the ancient Abbey of Bury St. Edmunds, England, in which the Barons met on November 20, 1214, and swore before the altar to secure from King John the liberties which they embodied inMagna Charta. These relics are of Caen stone, and may be recognized by their gray color. They were given to the Cathedral in 1922, with the consent of the Abbey authorities, by the Marquis of Bristol through Dr. Raphael Constantian of New York. Near the shaft is the following inscription:

“The Adjoining Shaft ‖ Was Once a Part of ‖ the High Altar of the ‖ Abbey of Bury St. Edmunds ‖ UponWhich on ‖ November 20, 1214, ‖ the Barons Swore Fealty ‖ to Each Other in Wresting ‖ the Great Charter ‖ from King John. ‖ It is Placed Here ‖ as a Symbol of ‖ the Community of ‖ Political Tradition, ‖ Laws and Liberties, ‖ Which is the Inheritance ‖ of the English Speaking ‖ Commonwealths ‖ Throughout the World.”

Credence Table with Shaft made of Magna Charta Stones

The Eight Great Columnsstanding in a semicircle around the Sanctuary and forming seven interspaces opposite the seven Chapels of Tongues, are among the marvels of the Cathedral. They are approached in size only by those in St. Isaac’s Cathedral, Petrograd. The shafts of light gray granite from Bear Island, near Vinal Haven on the coast of Maine, were quarried as monoliths and turned on a special lathe which cost $50,000. When the first two were subjected to the pressure of polishing they broke, and the contractor then obtained permission to make the shafts in two pieces. The lower stone in each shaft is 38 feet high and weighs 90 tons, and the upper stone is 17 feet high and weighs 40 tons, the total height between base and capital being 55 feet and the weight 130 tons. The octagonal capitals of pierre de Lens by Mr. Post represent singing angels. The columns were given as memorials of the men whose names are carved on the bases seen in the Ambulatory (south to north:) “Alonzo Potter,[26]Bishop of Pennsylvania, 1800-1865;” “Colonel Richard Tylden Auchmuty, U. S. V., 1831-1893;” “Harry Manigault Morris, 1817-1892;” “Eugene Augustus Hoffman, 1829-1902;” “John Jacob Astor, 1763-1848;” “John Divine Jones, 1814-1895;” “Josiah Mason Fiske, 1823-1892;” and “Joseph Lawrence, 1788-1872.” Each column cost $25,000, not including the expense of erection. They were made by Mr. John Pierce of Vinal Haven, Me.

The Clerestory Windowsof the Choir, nine in number, of which seven are above the entrances to the seven Chapels of Tongues, are designed to depict the Book of Revelation of St. John the Divine. Seven of them are in place. They are of painted mosaic glass made by Messrs. James Powell & Sons of Whitefriars, London, according to the methods used in the thirteenth century and cost $10,000 and upwards apiece. Each window is of three lights with rose window at the top, and is 28 feet high and 17 feet wide. The seven windows above the entrances to the Seven Chapels of Tongues (north to south) are designed to symbolize in their circular lights the messages to the seven churches in Asia mentioned in the Book of Revelation (i. 11), in the order there named: Ephesus, Smyrna, Pergamos, Thyatira, Sardis, Philadelphia and Laodicea. They are connected by the inscriptions in their lower borders which read consecutively as follows:

“Grace be unto you and Peace from Him ‖ Which is and Which was and Which is to come ‖ From the Seven Spirits which are before His throne ‖ Jesus Christ the Faithful Witness ‖ The First Begotten of the Dead ‖ The Prince of the Kings of the Earth. ‖ To Him be Glory and Dominion for ever and ever” (Rev. i. 4-6).

These windows, which are of surpassing charm to the unaided eye, flash out with extraordinary brilliancy of color and affecting beauty of composition and execution, particularly those called “Christ Reigning in Glory” and “the Woman in the Sun,” when examined with long distance glasses (apply to Verger), although the less brilliant windows contain subtle details well worth studying, as, for instance, the symbolisms of the elements held by the angels in the window above the Chapel of St. Boniface. Individually, from north to south:

St. John and the Seven Churchesare the subject of the window above theChapel of St. Ansgarius. In the upper part of the central light, St. John between two praying angels is depicted in the character of Apostle, beardless, and holding the sacramental cup—the young St. John, symbolical of love and high ideals and the feeling which filled all his writings; while in the lower part he appears as the aged exile on the Isle of Patmos, sitting with book in lap and pen in hand, listening to the angel behind him who commands him to write (Rev. i. 11). In the side lights are the angels of the seven churches (i. 11), bearing on scrolls their names: (Upper left) Ephesus; (lower left) Smyrna and Pergamos; (upper right) Thyatira and Sardis; (lower right) Philadelphia and Laodicea. In the circular light at the top are the name “Ephesus” and a shield bearing the seven candles mentioned in the message to the church of Ephesus (ii. 1). In the lower border of the three lights runs the inscription: “Grace be ‖ unto you and Peace ‖ from Him.” The window was given by Mrs. E. C. Ludlow Johnson in memory of Gabriel Ludlow.

The Natural Elementsupon which the vials of the wrath of God were poured (Rev. xvi. 2-17) are the principal subject of the window above theChapel of St. Boniface. In the lower part of the left side light is an angel holding between his hands the earth (green foliage); in the middle light three angels respectively holding the air (invisible), the sun (yellow glow), and the sea (green waves); and in the right side light an angel holding the rivers and fountains (blue currents). In the upper part of the middle light is the Lamb that was slain (v. 12) between the four beasts (iv. 7) which are in the side lights—on the left, the lion and the beast with the face of a man;and on the right, the ox and the eagle.[27]In the circular light at the top are the word “Smyrna” and a shield bearing the crown of life mentioned in the message to the church in Smyrna (ii. 10). In the bottom border is the inscription: “Which is and ‖ Which was and Which ‖ is to come.” A tablet in the Ambulatory reads as follows:

“The Clerestory Window Above ‖ the Chapel of Saint Boniface ‖ is Dedicated ‖ to the Glory of God ‖ and ‖ in Loving Memory of ‖ Annie Allen Wallace ‖ February 14, 1853-August 25, 1890.”[28]

The Seven Angels with Trumpets(Rev. viii. 2) are the main subject of the window above theChapel of St. Columba. Three of them are in the lower part of the middle light and two in each of the side lights. In the upper part of the middle light is the mighty angel of the cloud, overarched by the rainbow, standing upon the sea, and holding aloft in his left hand the little open book (x. 1, 2). In the upper part of the left side light is the angel with the seal of the living God (vii. 2) and in the right side light the angel with the golden censer (viii. 3). In the middle of the side lights are four angels (two left and two right) blowing the four winds of the earth (vii. 1). In the circular light at the top are the name “Pergamos” and a shield bearing the sharp two-edged sword of Him who sent the message to the church in Pergamos (ii. 12) between the Greek letters ΙΗϹ and ΧΡϹ (Jesus Christ.)[29]In the bottom border are the words: “From the seven ‖ Spirits which are before ‖ His throne.” A tablet in the Ambulatory reads as follows:

“The Clerestory Window Above the ‖ Chapel of Saint Columba‖ is Erected ‖ to the Glory of God ‖ and ‖ in Loving Memory ‖ of ‖ 1797 John Williams Leeds 1873 ‖ 1800 Eliza Leeds 1885 ‖ Emily Irene Hardenbergh 1899 ‖ By Their Daughter and Sister ‖ Josephine Eliza Leeds ‖A. D. 1915.”

Christ Reigning in Glory, as described in the first chapter of the Book of Revelation, is the principal subject of the great central window above theChapel of St. Saviour. In the central light is the Son of Man, with up-raised hands, vested as King and Priest, wearing a royal crown, a crimson mantle and a golden pallium. He stands in the midst of the seven candlesticks (i. 13), holds in his right hand the seven stars (i. 16, 20), and is surrounded by winged seraphim. Beneath him a rainbow (iv. 3) over-arches the sea of glass (iv. 6). In the side lights are the four principal archangels: St. Michael (left, above,) is depicted in armor as the Prince of the Celestial Armies, while the balance in his left hand, supposed to contain the souls of the dead, symbolizes his character as Guardian Angel of Departed Spirits. St. Raphael, below him, with pilgrim’s staff, is represented as the friendly traveller, recalling Milton’s “affable archangel.” St. Gabriel (right, above,) appears as Angel of the Annunciation, as indicated by the lilies (symbol of purity) in his right hand; and below him is St. Uriel, as Angel of Light, holding the sun.[30]In the circular window at the top are two angels holding the morning star mentioned in the message to the church in Thyatira (ii. 28), but the name “Thyatira” is lacking. In the border at the bottom of the three lights are the words: “Jesus Christ ‖ the Faithful ‖ Witness.” The window was given by Mrs. Whitelaw Reid. A tablet in the Ambulatory reads:

“The East Window ‖ is Erected in Memory of ‖ Whitelaw Reid ‖ October 27, 1837-December 15, 1912.”

The Seven Last Plagues(Rev. xv. 1) are the principal subject of the window above the entrance to theChapel of St. Martin of Tours. These are represented in the lower part of the window by seven angels holding the seven vials containing the plagues, three in the central light and two in each of the side lights. In the upper part of the middle light is an angel holding aloft in his right hand the everlasting Gospel (xiv. 6) in the form of a scroll bearing (obscurely) the symbols of the four Evangelists. In the upper part of the left side light is the angel with the measuring rod (xi. 1), and in the right side light is the angel standing in the sun (not to be confused with the woman in the sun mentioned in the next window,) calling the fowls of the air to the supper of the great God (xix. 17). In the circular light at the top are the name “Sardis” and a shield bearing a white dove in the midst of the seven stars (the seven Spirits of God,) mentioned in the message to the church in Sardis (iii. 1). In the border at the bottom of the three lights are the words: “The First ‖ Begotten of ‖ the Dead.” A tablet in the Ambulatory reads:

“The Clerestory Window Above ‖ the Chapel of St. Martin of Tours ‖ is Erected to the Glory of God ‖ and in Loving Memory of ‖ Sophia R. C. Furniss ‖ and ‖ Mary B. Hubber ‖ by ‖ Margaret E. Zimmerman ‖ nee Furniss ‖ Blessed are the peace-makers for they ‖ shall be called the children of God.”

The Woman in the Sunis the title of the window above the entrance to theChapel of St. Ambrose. In the central light is the woman clothed with the sun and wearing the crown of twelve stars (Rev. xii. 1). She is surrounded by a dazzling radiance of flaming rays. Above her, a cloud of glory is carrying herChild up to the throne of God (xii. 5). In the left side light, above, is the angel proclaiming the fall of Babylon (xiv. 8), and below, symbolizing that wicked city, the woman in scarlet holding the golden cup of abominations and seated on the beast from the bottomless pit (xvii. 4, 18). In the right side light, above, is the angel with the sharp sickle and the clusters of the vine (xiv. 18), and below, the angel with the keys to the bottomless pit and the chain to bind the dragon (xx. 1). The whole window symbolizes the triumph of Christ over the forces of evil. In the circular light at the top are the name “Philadelphia” and a shield upon which, between six D’s, is the key of David mentioned in the message to the church in Philadelphia (iii. 7). In the border at the bottom are the words: “The Prince ‖ of the Kings of ‖ the Earth.” A tablet in the Ambulatory is inscribed:

“The Clerestory Window Above ‖ the Chapel of Saint Ambrose ‖ is Erected to ‖ the Glory of God ‖ and in Loving Memory of ‖ Morgan Lewis Livingston ‖ 1800-1869 ‖ and ‖ Catharine Manning Livingston ‖ 1810-1886 ‖ By Their Daughter ‖ Julia Livingston ‖ 1916.”

The Heavenly Cityis the principal subject of the window above the entrance to theChapel of St. James. In the lower part of the middle light is the angel showing to St. John the Heavenly City (Rev. xxi. 10 et seq.) and in the upper part is a glorified figure symbolizing the holy city, new Jerusalem, coming down from God out of heaven prepared as a bride adorned for her husband (xxi. 2). Beneath this figure in the upper part is the pure river of water of life, and on either side of it is the tree of life whose leaves are for the healing of the nations (xxii. 1-2). In the lower part of the left-hand light is the angel with the Alpha, and in the corresponding part of the right-hand light is the angel with the Omega (xxii. 13);while above each of them is a beckoning angel saying “Come” (xxii. 17). In the circular light at the top are the name of the church of Laodicea and the word “Amen”—the latter being the name of the sender of the message to the Laodiceans (iii. 14) and the word with which the Book of Revelation and the Bible end (xxii. 21). In the bottom border of the three lights is the inscription: “To Him be Glory ‖ and Dominion for ‖ Ever and Ever.” The window was given in memory of Mary C. and Dr. John D. Ogden by their children Francis L. Ogden, Margaret Ogden, Mrs. Gardiner Sherman and Mrs. Francis C. McNutt.

The Ambulatory (12-12-12) is a passage about 20 feet wide leading entirely around the Choir and giving access to the seven Chapels of Tongues, the Sacristy, and other environments of the Choir. Some of the features have already been described. The symbolism of the earthly life in the pavement, before mentioned (p. 51), is noticeable in the large areas of clay-red tiles with borders of grassy green serpentine and green marble from Pennsylvania. The beautifully colored wainscoting between the great pillars is of Grecian marble from the island of Scyrus. The Ambulatory is entered through elaborately wrought steel gateways, 30 feet high, in the archways on either side of the great arch of the Choir. The gates, made by Messrs. Warren & Wetmore, were presented by the Cathedral League and the Diocesan Auxiliary. In the south Ambulatory gateway is a white marble tablet, showing in relief two angels and two portrait medallions of Mr. and Mrs. Levi P. Morton, and bearing the following inscription:

“To the Glory of God ‖ and ‖ in Enduring Memory of ‖ Levi Parsons Morton ‖ 1824-1920 ‖ Vice-President of the United States ‖ Governor of the State of New York ‖ and ‖ of His Wife ‖ Anna Livingston Morton ‖ 1846-1918 ‖ Whose Gifts Made Possible the ‖ Building and the Furnishing of ‖ the Choir of this Cathedral ‖ Yea saith the Spirit that They ‖ May Rest from Their Labours ‖ and Their Works do Follow Them.”

THE FOUNDER’S TOMB

The Founder’s Tomb, containing the remains of Bishop Horatio Potter, sixth Bishop of New York,[31]in the Ambulatory between the fourth and fifth great pillars opposite the entrance to St. Saviour’s Chapel, is a beautiful example of an “altar tomb” such as are seen in many English churches. Its position, immediately behind the High Altar, is that traditionally reserved for the Founder of a cathedral. It is designed in the English Gothic style of the 15th century after studies of the tomb of Edward the Confessor in Westminster Abbey. The sarcophagus, the recumbent figure of the Bishop and the figures of the five ornamental niches of the front are of Indiana limestone. The figures, from left to right, are those of (1) Edward the Confessor, with crown, scepter and orb; (2) St. Remigius, with cup and scourge; (3) St. John the Divine, with pen, book and eagle; (4) St. Isidore, with miter, pallium and crozier; and (5) St. Theodosius of the Eastern Church, wearing a coronet with cross, holding a staff and reading from a scroll. Above the niches is a decorative moulding of oak leaves and acorns[32]with little squirrels at the ends. On the edge of the slab on which the Bishop’s figure rests is inscribed:

“Horatio Potter, D.D., D.C.L., Oxon. ‖ Sixth Bishop of New York, Founder of this Cathedral. Died 2d Jany. 1887, Aged 85 Yrs.”

On the rear of the sarcophagus is inscribed “St. John’s Day ✠ Anno Domini 1921,” the day on which the Bishop’s remains were transferred from Poughkeepsie to this tomb. Above the tomb, reaching to a height of 15 feet above the pavement, is a canopy of American oak with richly carved frieze and cresting, supported on corbels springing from the great granite columns on either side. A narrow stairway behind the columns and the tomb leads to a landing which permits a closer view of the figure of Bishop Potter. The architect was Mr. Thomas Nash of New York and the sculptor of the figures was Mr. Isidore Konti of Yonkers, N. Y.

The Brownell Memorial Tableton the wall of the bay at the entrance to the Chapel of St. Ansgarius reads as follows:

“In Memory of ‖ The Right Reverend ‖ Thomas Church Brownell, S.T.D., LL.D. ‖ Born 1779 Died 1865 ‖ Third Bishop of Connecticut 1819-1865 ‖ Presiding Bishop 1852-1865 ‖ and ‖ in Grateful Remembrance of the Foundation of ‖ the Bishop Brownell Memorial Fund for the ‖ Endowment of the Cathedral by His Daughter ‖ Frances Johnston Holland.”

The Choir Boys’ Stoneon one of the piers of the Ambulatory near the Chapel of St. Ansgarius, is the bust of a boy of the class of 1911, carved by Mr. William Scott. It represents the choir boys’ contribution to the building of the Cathedral.

The seven Chapels of Tongues, built around the Choir on lines converging toward the Sanctuary and deriving their name from the fact that they were intended for services of the church in the languages of the principal ethnological groups or regions of the world, are one of the noblest conceptions of the Cathedral. In early Gothic churches, the fundamental ideaof the apse with radiating chapels was Christ in the company of his Saints. Here, in the great cosmopolitan Diocese of New York, this idea has appropriately been carried a step further in these chapels to include the idea of all the nations of the earth gathered around the Altar of the Saviour of Mankind. They recall the cry of the multitude in Jerusalem at Pentecost: “How hear we every man in our own tongue wherein we were born ... the wonderful works of God” (Acts ii. 8, 11). Among the interesting services held in these chapels are those in the eastern (St. Saviour’s) chapel for the Japanese and Chinese in their languages and for colored people in English. The spirit fostered by these chapels is occasionally reflected in great congregations, entirely of Italians, entirely of negroes, or predominantly of some other race, at services held in the main part of the Cathedral filling it to its utmost capacity.[33]Services in English are held in one or more of the chapels every day of the year, and oftentimes weddings and baptisms are held in them. As a group, the seven Chapels of Tongues eloquently express the catholic and democratic spirit of the Cathedral of St. John the Divine referred to onpage 14. They may be visited in order either from south to north or north to south; but by beginning on the south side they will be seen in the order in which they were observed on the exterior (p. 31), and by looking through the archways of the Choir to the opposite side of the Ambulatory, glimpses may be had of the tapestries and the clerestory windows in the order in which they have been described. The chapels are all separate gifts and are memorials of the persons mentioned under their respective headings following:

St. James, the Apostle, after whom this chapel is named, was the son of Zebedee and was a Galilean fisherman. He is sometimes called St. James the Great to distinguish him from another Apostle called St. James the Less. He was a brother of St. John the Divine. He went almost everywhere with the Lord. After the ascension, he preached a while in Judea and then in Spain. After his mission there, he was beheaded by the Jews, and, according to tradition, his body was miraculously transported back to Spain, where his relics are said to rest at Compostella. Spanish historians chronicle 38 instances in which he is believed to have descended from heaven and in shining white armor led the Spanish armies against the Moors. Under the Spanish equivalent of his name, St. Iago or Santiago, he became the patron saint of Spain and his name was adopted as the Spanish war-cry. His shrine at Compostella was one of the most popular for pilgrimages in the Middle Ages, and it was said that two visits to Compostella equaled one to Rome. St. James is usually represented in the dress of a pilgrim with a peculiar staff. His Memorial Day is July 25.

The Chapel of St. James (13 on plan), designed by Mr. Henry Vaughan, is in pure English GothicArchitectureof the 14th century; 66 feet long and 39 wide, with a sort of transept on the north side 15 feet wide; seats 250 persons, and cost about $200,000. Its interior walls are of Bedford, Ind., limestone. On the front of theAltarof gray Knoxville, Tenn. marble, is sculptured DaVinci’s Last Supper. The central feature of the limestoneReredosis a relief representing the Transfiguration, after Raphael. In four niches, two on either side of the Transfiguration, are statues of the four Evangelists with their appropriate emblems at their feet (left to right:) St. Matthew with winged man; St. Mark with lion; St. Luke with ox; and St. John with eagle. Beneath the Transfiguration is a smaller sculpture of the Nativity, with an alleluia angel on each side. On four escutcheons, two on each side of the Nativity, are emblems of the condemnationand crucifixion (left to right:) (1) Crown of thorns and spear (John xix. 2, 5, 34); (2) pillar to which Christ was bound for scourging, cord, knotted scourge (John xix. 1) and sponge on reed (John xix. 29); (3) ladder, sponge on reed and spear; and (4) hammer, pincers, coat, and three dice (Mark xv. 24). Beautifully carved canopies surmounted by six adoring angels crown the Reredos. The stained glassEast Window, by C. E. Kempe & Co. of London above the Reredos, depicts in its three lights (left to right) St. Lawrence, St. James and St. Vincent. In two walled-up panels of the window, one on each side of the glass, are statues of St. Peter with keys (left) and St. Paul with sword (right).The Saint James Windowin the middle bay of the south aisle portrays in its four lights scenes in the life of the patron saint of Spain (see page 71) and other subjects, as follows, reading from left to right: Bottom, (1) Coat-of-arms of St. John and the words, “James, servant of God;” (2) St. James preaching to the natives of Spain; (3) St. James before the judge, forgiving his accuser and giving him his blessing, “Peace be with thee;” (4) Coat-of-arms of King Ramira I of Spain, and the words (to be read with those first quoted), “And of the Lord Jesus Christ.” Middle, (1) “Unto his shrine the mighty and the lowly fared on pilgrimage;” (2) “St. James, the radiant knight, upon a great white horse;” (3) “Before the banner of his name the Moorish warriors fled;” (4) “At Compostella still men serve Santiago’s shrine.” Top, (1) angel with ΙϹ-ΧϹ symbol; (2) “They bore his body to a ship that sailed for Spain;” (3) “Over his tomb they built a chapel passing fair;” (4) Angel with Ichthus symbol.[34]In the tracery at the extreme top is a representationof the Crucifixion. The window was given by Bishop Potter’s daughters and was designed and made by Mr. Henry Wynd Young, glass-painter, of New York City. In niches of the walls of the chapel are the following statues and symbols:East Wall, St. Augustine of England with crozier (left) and St. Gregory the Great (who sent him to England) with papal tiara and papal cross (right)West Wall, end of main aisle, above, Christ between his kinsmen St. James the Great (left) and St. James the Less (right); and at end of south aisle, the VenerableBede. On four escutcheons, two on each side of the west door, are: (1) A floriated cross (emblematic of the flowering or productiveness of the Christian religion); (2) the monogramihc(representing the first two and last letters, uncial form, of the Greek word for Jesus[35]); (3) the Greek cross form of the chi rho monogram (first two Greek letters of the name Christ); and (4) the Alpha and Omega, the first and last letters of the Greek alphabet, (Rev. i. 8).North Wall, statue of William of Wykeham. In the upper part of the north wall is the gallery of the organ, which is independent of the great organ of the Cathedral. Choir Stalls near the Altar are a distinctive feature of this chapel. Two clustered columns divide the south aisle into three bays in the middle one of which isBishop Potter’s Tomb, of Siena marble. On the tomb is a recumbent figure of the Bishop in Serevezza marble, by Mr. James E. Frazer. The Bishop is represented in his episcopal robes, and the execution is so fine that even the texture of the lawn sleeves is apparent. On the front of the tomb is inscribed:

“Henry Codman Potter ‖ MDCCCLXXXIII Assistant Bishop of New York MDCCCLXXXVII ‖ Bishop of New York ‖ MDCCCLXXXVII-MCMVIII ‖ Upholder of Righteousness and Truth ‖ Soldier and Servant of Jesus Christ.”

THE SANCTUARY OF THE CHAPEL OF ST. JAMES

On the rear:

“He laboured that this Cathedral Church ‖ Should rise to the Glory of God and as ‖ A witness to the Life of our Lord and Master Jesus ‖ Christ that here the prayers of the children ‖ of many lands should rise to that ‖ Father in whom alone all men are brothers ‖ Whose service is perfect freedom.”

Around the edge of the top slab:

“I saw the Holy City coming down from God out of Heaven ‖ and I heard a great voice saying ‖ Behold the tabernacle of God is with men and he will dwell with them ‖ and they shall be his people.”

On the west wall is inscribed:

“The Chapel of St. James ‖ Consecrated ‖ May 2, 1916 ‖ To the Worship of ‖ Almighty God ‖ And in Loving Memory of ‖ Henry Codman Potter ‖ Bishop of New York ‖ Born May 25, 1834 ‖ Died July 21, 1908 ‖ The Gift of His Wife ‖ Elizabeth Scriven Potter ‖ Born September 30, 1848 ‖ Died March 4, 1909.”

Story of the Blind Woman.A beautiful and touching incident occurred in the Chapel of St. James a few years ago. One day, a woman who was blind, deaf, and could make only a few hardly articulate sounds, but who was cultured and could read by touch, visited the Cathedral with another woman. The Verger, the late Charles F. Barnard, first led her the full length of the Cathedral in order that she might comprehend its size. Then the general features of the edifice were communicated by her friend by the touch of their hands. The wood and stone carvings, however, she read with her own fingers. When she came to the Chapel of St. James, she wished to feel of Bishop Potter’s features as reproduced in the effigy on his tomb, but on account of the delicacyof the marble, visitors are not allowed to touch it. The blind woman, however, produced from her bag a pair of thin white gloves, and by signs asked if she might feel of the statue if she put them on. The Verger assenting, she ran her fingers deftly over the Bishop’s countenance, felt of the signet ring on his finger, etc., and then, satisfied, proceeded to the Altar. Here she knelt down and began to feel of the relief representing DaVinci’s Last Supper. As soon as she recognized the work, she threw up her hands in ecstasy and exclaimed in broken accents, the best she could utter, “Vinci! Vinci!” The venerable Verger, in relating this incident, said that he was moved to tears by the spectacle of the blind woman, kneeling before the Altar, with up-raised hands, “seeing” the Cathedral through the sense of touch. One may well ask, if this blind woman could see so much spiritual beauty in the Cathedral without eyes, how much more ought those to see who have the blessed gift of sight.

St. Ambrose, or Ambrogio, the namesake of this chapel, was born in Treves about 340, the son of a Roman Prefect in Gaul (now France). While in his cradle one day, a swarm of bees settled upon him, clustering around his mouth, but doing him no harm. A similar thing having happened to Plato, it was considered an omen of future greatness. He studied law at Rome, became a magistrate in upper Italy with court at Milan, and by his wisdom and gentleness won such popular esteem that when called upon to settle of succession of the bishopric of Milan between the Arians and Catholics he himself was chosen by both parties to be Bishop of that see. He was one of the most celebrated fathers of the church. His most distinctive symbol is the bee-hive, although two human bones, the scourge, the crozier, the mitre, etc. are sometimes used. The Memorial Day for St Ambrose is kept on April 4.

The Chapel of St. Ambrose (14 on plan), designed by Messrs. Carrere & Hastings, is in modern RenaissanceArchitecture. It is about 50 feet long and 27 wide, seats 100 persons and cost over $150,000. The floor is inlaid with grey Siena and red Verona marbles, bordered with cream colored Cenere marble. The walls are lined with Rosato marble. On the under side of the marble archway at the entrance are reliefs representing the Three Persons of the Trinity with angels, as follows: (Left) the Father in human form[36], with triangular nimbus, holding the globe of sovereignty; angel with lute; angel with lily; (top) the Holy Ghost in form of the dove; angel with trumpet; angel praying; and (right) the Son in form of the Paschal Lamb. The false perspective of the side walls is similar to that in the Sacristy of the Cathedral of Siena. In the spandrels of the false arches of the left-hand wall (as one faces the Altar) are figures in relief (reading from entrance toward Altar) of: Moses and the prophets Isaiah, Jeremiah and Ezekiel; and on the opposite wall, in same order, St. Matthew with cherub, St. Mark with lion, St. Luke with ox, and St. John with eagle. The ceiling is of white marble carved in low relief. From the ceiling hang four silver lamps, one an antique Italian lamp and the others copied from it. On the front of theAltarof alabaster are three golden ornaments, representing the Paschal Lamb (Christ) between two angels swinging censers, the latter symbolizing the prayers of all saints (Rev. viii. 3). TheReredos, not copied from any one European prototype but inspired by many examples found in the transitional and early Renaissance period in Italy, is of carved wood overlaid with gold leaf. The lower part consists of a triptych, covered by an elaborate canopy and flanked by niches in which are statues of St. Francis (left) and St. Ambrose (right).In niches at the left of the canopy are figures (left to right) of a kneeling angel, St. Benedict with crozier, St. Agnes in female apparel, and Dante in red gown and hood; and at the right (same order) Fra Angelico, Galileo with globe, Savonarola, and kneeling angel. Upon the cross of the canopy is a dove, symbolizing God the Holy Ghost; above that is the all-seeing eye in a triangle within a sun-burst, symbolizing God the Father; and on the top-most spire is the figure of God the Son, holding a cross and pronouncing a benediction.The Apse Windows, one on each side of the Altar, transmit a soft amber light which gives a peculiar charm to this chapel. Each has a border of Italian Renaissance tracery, within which is a field of many small panes of leaded glass. In theleft windowthese panes are ornamented with repeated designs representing the chalice with emerging serpent and the eagle (symbols of St. John), flowers, and the chi-rho monogram. In the upper part are the seven stars and candlesticks from the Cathedral seal, and the legend, “Sigil. Eccles. Cath. S. Johan;” and in the lower part the words, “For God is the King of all the Earth. Sing ye Praises with Understanding.” In theright windowthe panes are ornamented with repetitions of the bee-hive, mitre and scourges (symbols of St. Ambrose), the cross and wreath, flowers, and the ΙϹ-ΧϹ and IHS symbols. Near the middle is a small fragment of brown glass, marked with an “R”, from Rheims Cathedral. In the upper part is the coat-of-arms of St. Ambrose—the bee-hive, mitre and croziers—with the legend, “Sigil. Sanct. Ambrosii,” and in the lower part are the words, “God is our Refuge and Strength, a Very Present Help in Trouble.” The windows were made by Mr. Henry Wynd Young, glass-painter, under the supervision of Messrs. Godwin & Sullivant, architects, of New York.Along the side walls areStalls and Wainscotingof dark Italian walnut, inlaid with pear-wood in designs including the star of the east, chalice, Latin cross, patriarchal cross, and Bishop’s mitre. Inlaid in the top border of the wainscoting is this inscription:

Back to Index Next